Table of Contents

Introduction: Scoring The Edge -- Philip Hayward1) Psycho-Analysis: Form and Function in Bernard Herrmann's Music for Hitchcock's Masterpiece -- James Wierzbicki2) An Audiovisual Foreshadowing in the First Thirty Seconds of the Last Eight Minutes of Psycho -- Scott Murphy3) Sound and Music in Hammer's Vampire Films -- Michael Hannan4) Creative Soundtrack Expression: Toro Takemitsu's Score for Kwaidan -- Kyoko Koizumi5) Prog Rock, the Rock, the Horror Film and Sonic Excess: Dario Argento, Morricone and Goblin -- Tony Mitchell6) Inflamed: Synthetic folk music and paganism in the island world of The Wicker Man -- Jon Fitzgerald and Philip Hayward7) Rhythms of Evil: Exorcising Sound from The Exorcist -- Mark Evans8) Texas Chainsaws: Audio Effect and Iconicity -- Rebecca Coyle and Philip Hayward9) Incorporating Monsters: Music as Context, Character and Construction in Kubrick's The Shining -- Jeremy Barham.10) Music of the Night: scoring the vampire in contemporary film -- Janet K. Halfyard11) Scary Movies, Scary Music: Uses and Unities of Metal in the Contemporary Horror Film -- Lee Barron and Ian Inglis12) 'Like Razors through Flesh': Hellraiser's Sound Design and Music -- Karen Collins13) Spooked by Sound: The Blair Witch Project -- Rebecca Coyle14) Popular Songs and Ordinary Violence: Exposing Basic Human Brutality in the Films of Rob Zombie -- Laura Wiebe Taylor15) Terror in the Outback: Wolf Creek and Australian Horror Cinema -- Philip Hayward and Harry Minassian16) The Ghostly Noise of J-Horror: Roots and Ramifications -- James Wierzbicki

About the Author

Philip Hayward has taught film and popular music studies in Australia and the United Kingdom andis currently research team leader in the Department of Contemporary Music Studies at MacquarieUniversity in Sydney. His previous books include Off The Planet: Music, Sound and Science FictionCinema (2004) and he is a performer in an avant garde chainsaw quartet performing work written bycomposer Michael Hannan.